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!! 2015-11-14 \|t [../files/img/201511_ROWE_IF3_640.jpg\|../files/img/201511_ROWE_IF3.jpg]{br}{small}Photos credits : © Apo33{/small}{br}{br}{small}(Click to enlarge){/small}{br}[../files/img/201511_ROWE_IF3_3_540.jpg\|../files/img/201511_ROWE_IF3_3.jpg]{br}{br}[../files/img/201511_ROWE_IF3_1_270.jpg\|../files/img/201511_ROWE_IF3_1.jpg] [../files/img/201511_ROWE_IF3_4_270.jpg\|../files/img/201511_ROWE_IF3_4.jpg]{br}{br}[../files/img/201511_ROWE_IF3_2_276.jpg\|../files/img/201511_ROWE_IF3_2.jpg] [../files/img/201511_ROWE_IF3_5_270.jpg\|../files/img/201511_ROWE_IF3_5.jpg]{br}{small}Photos credits : © Luc Babin / Imediagin{/small}\|tl '''HANG UPS - Keith Rowe''' {br}''performed by'' / interprété par '''ONsemble'''{br}''' Festival Instants Fertiles, Galerie des Franciscains, Saint-Nazaire (France){br}18h30, entrée libre '''{br}{br}{small}''(See on 2016-01-30)'' / (Lire l'article en 2016-01-30){br}— Keith Rowe développe ses premières pièces écrites – partitions – avec NG4 et l’ONsemble basés sur des compositions, des techniques et textures en relation avec sa passion pour la peinture contemporaine avec des artistes tels que Gerhard Richter, Jackson Pollock, Agnes Martin, Richard Hamilton & Euan Uglow.{br}{br}—— ''Apo33 and ONsemble requested Keith Rowe in 2015 to create composition of unprecedented orchestral piece. Keith Rowe developed his first written peices – Scores – with NG4 and ONsemble based on compositions, related the techniques and textures related to his passion for contemporary art with artists such as Gerhard Richter,Jackson Pollock, Agnes Martin, Richard Hamilton & Euan Uglow.''{br}{br}{br}ONsemble :{br}Jenny Pickett (guitare), Christophe Havard (saxophone), Jerome Joy (basse), Anthony Taillard (guitare), Fabrice Arnaud-Cremon (clarinette Mi bémol), Julien Ottavi (Percussions), Romain Papion (basse), Clara Bodet (Clarinette basse), Carine lequyer (Harpe), Emmanuel Leduc (Guitare), Sylvie Noel (piano), Sarah Clenet (Contrebasse), Keith Rowe (Guitare préparée).{/small}{br}{br}[../files/img/201601_ROWE_LU_logo_50.jpg] [../files/img/201511_IF3.jpg\|../files/img/201511_IF3big.jpg]{br}{br}{small}— '''^[[More info (Apo33)\|http://apo33.org/index.php/fr/2015/11/06/onsemblekeith-rowe-2/]^]'''{/small}{br}{small}— '''^[[More info (Lieu Unique)\|http://www.lelieuunique.com/site/2016/01/30/soiree-pas-normal-7/]^]'''{/small}{br}{small}— '''^[[PDF programme festival Instants Fertiles 2015\|https://dl.dropboxusercontent.com/u/13846863/Saison_2015-16/Fichier_site/Download/151112-ATH_IF3-WEB.pdf]^]'''{/small}{br}{br}{br}{br}{small}—— ''Simon Schama's book of essays, 'Hang-Ups', begins as follows:{br}"Art begins with resistance to loss; or so the ancients supposed. In a chapter on sculpture in his Natural History, Pliny the Elder relates the legend of the Corinthian maid Dibutade who, when faced with the departure of her beloved, sat him down in candlelight and traced his profile from the shadow cast against the wall. Her father, the potter Boutades, pressed clay on the outline to make a portrait relief, thereby inaugurating the genre (and wrecking, one imagines, the delicate shadow-play of his daughter's love-souvenir)."{br}{br}The sound of drawing : in an attempt to link the act of drawing with musical performance. I’ve attached a contact microphone to a piece of charcoal, and literally draw around the objects on the table in front of me, in a sense confirming how I regard my musical performances as acts of painting.'' — (Keith Rowe, 2009){br}{br}{br}—— ''Who am I? What do I have to say? I probably thought about that for between five and eight years, just constantly reflecting on how to do it, and, in a flash, I found the solution. Look at the American school of painting, which was very provincial in the 1800s: they really wanted to do something original but didn't know how to do it, the clue was to get rid of European painting, but how could they ditch European painting, what did they have to do to do that? And Jackson Pollock did it - he just abandoned the technique. How could I abandon the technique? Lay the guitar flat! All that it's doing is angling the body ^[of the guitar^] from facing outwards to facing upwards - the strings remain horizontal, the strings are the same.'' — (Keith Rowe, 2001){/small} \| {br}{br} ----
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